After graduating from Central St. Martin’s London, Johan Andersson became the youngest ever artist to be shortlisted for the BP Portrait Award and was named in The Independent’s Top 20 Artists. His work has been displayed at the National Portrait Gallery, The V&A Museum, The Saatchi Gallery and he has exhibited work alongside artists including Anish Kapoor, Damien Hirst, Francis Bacon, Jake & Dinos Chapman, Tracey Emin Lucien Freud, Sir Peter Blake and Howard Hodgkin
He has exhibited and sold on the International Art Market including art fairs in Basel & Miami, Cutlog in Paris, as well at numerous other exhibitions in New York & London. In 2010 Andersson was selected by Sky Arts as the ‘one to watch’ young British Contemporary Artist to feature on a 6 week Documentary called ‘Art of Survival’ broadcasted 2011.
Collectors of interest include; Film Director George Lucas, Flickr and Slack founder Stewart Butterfield, Casey Cowell, founder of the modem, Academy Award Winner Per Hallberg and Director of Chelsea FC Eugene Tenenbaum. Andersson was recently selected as one of the Top 100 Most Influential Creatives by TimeOut magazine. His work has sold for up to six figures
Johan painted the first official portrait of human rights activist Mariam Ibrahim. In 2015. She was sentenced to death for Apostasy and given 100 lashes for marrying a Christian man. She was later rescued as a result of an international outcry that included the voices of such luminaries as Angelina Jolie, President Obama, Clinton, Prime Minister David Cameron and Pope Francis.
Andersson seeks to give representation and visibility to those who do not conform within the popular social consciousness of culture. (attributes so often propagated by onscreen and printed hegemony). In recognizing the capacity of the global media (in line with public receptiveness) to distort ontological perceptions, the paintings stand
both in defiance and pride, celebrating diversity in the knowledge that we are all uniquely made. Whether expressed through paintings confronting issues of body image, ethnic or racial prejudice, religious discrimination or gender stereotypes; the protagonist is often someone who might easily be overlooked.
For Andersson the purpose is not to condemn modern culture, rather to help people discover who they are within it. The expression and soul of the paintings encourages intimacy, whilst challenging continually emerging advertising milieus. In capturing both actuality and the elusive ethereal, the fusion of subtle smears of color and blurred mark making has the effect of ordinary details appearing extraordinary.
The subjects retain both an ephemeral and intense presence, provoking cognitive dissonance. In each of Andersson’s paintings there is an invitation for the viewer to explore their own preconceptions within themselves to confront either a false sense of inadequacy or distorted identity in a manner that is uniquely uncompromising.